Homer's writing is characterized by his use of epic-similes (˜Homeric-similes), loosely defined as elaborate and extended metaphors. Often, the simile's vehicle is much longer and more complex than its tenor, and much thought must be given to properly parse its meaning and understand the comparison between the vehicle and the tenor. One such simile is Homer's depiction of the wound Menelaos is inflicted by Pandaros: "As when some woman ivory dyes with red/purple, A Maeonian woman or a Karian woman, to be a cheekpiece of horses; It lies in an inner room, and many horsemen Pray to have it; for a king it is laid up as a glory/delight/honor (agalma), Both an ornament for the horse and for the charioteer, glory (kudos); Thus for you, o Menelaos, were stained with blood the thighs Shapely/graceful, and shanks and ankles, beautiful, underneath" (Book 4, lines 141-147). While the tenor of this simile, Menelaos' battle wound, is simple and easy to understand, the vehicle is intricate and multifaceted. On the simplest level, who do these characters represent? Who is this Maeonian or Karian woman? Who are the horsemen and the king? Is the charioteer a new character or is he a reference to the king? The vehicle presents four different characters, yet the tenor only mentions one (Menelaos). Likewise, the simile is addressed to Menelaos (Thus for you, O' Menelaos ), yet it is not clear that each or even any of these characters actually represent him. Seemingly, each one of these characters adds another element to the simile and their inclusion must be understood in order to properly comprehend the tenor. Another question that can be asked is whether the simile tries to glorify Menelaos' wound. How should the "staining" or "dying" of Menelaos' thighs be perceived? While the simile compares it to dying ivory, the same Greek root is used for both and thereby exalts the wound. The "miano" can also mean to stain, defile, and sully, especially with ref